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There Are Colours in the Earth - Marina Renee-Cemmick
There Are Colours in the Earth | Marina Renee-Cemmick | Oil on Linen | 120 x 100 cm
Part of Marina Renee-Cemmick’s Colstoun Works
Marina Renee-Cemmick’s There Are Colours in the Earth is a blazing, chromatic declaration — a painting that refuses the conventional muting of soil and insists instead on its latent, extraordinary richness. Executed in oil on linen during her residency at Colstoun House, the work takes as its subject the estate’s walled kitchen garden and transforms it, through a command of Fauvist colour and gestural energy, into something closer to revelation than record.
The garden beds dominate. Sweeping in bold diagonal recession from the foreground, the tilled rows surge with reds, crimsons, ochres, cadmium yellows, and flickering purples — a chromatic inventory of the earth that has nothing to do with brown and everything to do with a painter’s insistence on looking harder, deeper, and more honestly. Renee-Cemmick’s brushwork is broad and decisive, the paint applied with a confidence that gives the surface a pulsing, kinetic energy. These are not beds at rest; they breathe.
Against this intensity, a single dark wheelbarrow rests in the middle distance with quiet authority — a solitary, human-scaled object that anchors the composition and introduces a note of the quotidian into the work’s chromatic drama. Beyond it, a low stone wall in warm pink and ochre separates the cultivated ground from a treeline where dark coniferous forms in deep navy rise above a fringe of deciduous trees in autumnal amber and yellow, a glimpse of farm buildings just visible through the foliage. Above all this, the sky is pewter and restless: swirling grey presses down upon the brilliance below, sharpening it by contrast.
The title is both observation and manifesto. There Are Colours in the Earth makes an argument: that the agricultural ground — worked, turned, ordinary — contains within it a chromatic life that only the attentive eye, and the committed painter, can release. Renee-Cemmick’s achievement is to make that argument visible, in a painting that is simultaneously grounded in a specific and beloved place, and entirely liberated from the merely documentary. The large scale of the linen — 120 x 100 cm — is essential; the work demands physical presence and rewards it, the surface opening up into ever-greater complexity the closer one stands.
In the context of Renee-Cemmick’s Colstoun practice, this work represents a painter whose relationship to colour is not decorative but philosophical — one whose landscapes reward not just looking but sustained seeing. It possesses the immediate visual authority of genuinely significant contemporary painting, while sustaining deeper engagement through the richness and restlessness of its surface.
There Are Colours in the Earth represents a significant opportunity to acquire a work of vivid immediacy and lasting depth — one that brings the particular light and working life of the Colstoun landscape into any space it inhabits, and continues to give with time.
All works on this page are offered Price on Application (POA). In keeping with established gallery practice, prices are provided discreetly upon request to ensure a considered and informed dialogue with collectors. Should you proceed to the checkout stage, the works will appear as £0 — this is simply a technical placeholder within the website system and does not reflect the value of the artwork. Once an enquiry is submitted, we will respond promptly with full details, including pricing, availability, and any additional information required.
This approach allows us to maintain the integrity of the sales process while offering collectors a direct and personalised exchange.
There Are Colours in the Earth | Marina Renee-Cemmick | Oil on Linen | 120 x 100 cm
Part of Marina Renee-Cemmick’s Colstoun Works
Marina Renee-Cemmick’s There Are Colours in the Earth is a blazing, chromatic declaration — a painting that refuses the conventional muting of soil and insists instead on its latent, extraordinary richness. Executed in oil on linen during her residency at Colstoun House, the work takes as its subject the estate’s walled kitchen garden and transforms it, through a command of Fauvist colour and gestural energy, into something closer to revelation than record.
The garden beds dominate. Sweeping in bold diagonal recession from the foreground, the tilled rows surge with reds, crimsons, ochres, cadmium yellows, and flickering purples — a chromatic inventory of the earth that has nothing to do with brown and everything to do with a painter’s insistence on looking harder, deeper, and more honestly. Renee-Cemmick’s brushwork is broad and decisive, the paint applied with a confidence that gives the surface a pulsing, kinetic energy. These are not beds at rest; they breathe.
Against this intensity, a single dark wheelbarrow rests in the middle distance with quiet authority — a solitary, human-scaled object that anchors the composition and introduces a note of the quotidian into the work’s chromatic drama. Beyond it, a low stone wall in warm pink and ochre separates the cultivated ground from a treeline where dark coniferous forms in deep navy rise above a fringe of deciduous trees in autumnal amber and yellow, a glimpse of farm buildings just visible through the foliage. Above all this, the sky is pewter and restless: swirling grey presses down upon the brilliance below, sharpening it by contrast.
The title is both observation and manifesto. There Are Colours in the Earth makes an argument: that the agricultural ground — worked, turned, ordinary — contains within it a chromatic life that only the attentive eye, and the committed painter, can release. Renee-Cemmick’s achievement is to make that argument visible, in a painting that is simultaneously grounded in a specific and beloved place, and entirely liberated from the merely documentary. The large scale of the linen — 120 x 100 cm — is essential; the work demands physical presence and rewards it, the surface opening up into ever-greater complexity the closer one stands.
In the context of Renee-Cemmick’s Colstoun practice, this work represents a painter whose relationship to colour is not decorative but philosophical — one whose landscapes reward not just looking but sustained seeing. It possesses the immediate visual authority of genuinely significant contemporary painting, while sustaining deeper engagement through the richness and restlessness of its surface.
There Are Colours in the Earth represents a significant opportunity to acquire a work of vivid immediacy and lasting depth — one that brings the particular light and working life of the Colstoun landscape into any space it inhabits, and continues to give with time.
All works on this page are offered Price on Application (POA). In keeping with established gallery practice, prices are provided discreetly upon request to ensure a considered and informed dialogue with collectors. Should you proceed to the checkout stage, the works will appear as £0 — this is simply a technical placeholder within the website system and does not reflect the value of the artwork. Once an enquiry is submitted, we will respond promptly with full details, including pricing, availability, and any additional information required.
This approach allows us to maintain the integrity of the sales process while offering collectors a direct and personalised exchange.